中國透過與周邊鄰國間的冊封、朝貢，相互建立一種友善往來的邦交體制，這不僅鞏固中國與周邊國家在政治上的秩序，也促進國家間在經濟貿易與文化交流。明清時期的琉球，向西對中國進行朝貢、接收冊封，中國傳統戲曲與音樂亦隨著進入這個海上王國，並就此落地發展。後來又因薩摩藩的入侵，日方也開始要求琉球每逢國王即位或日本將軍有所更替時，都要派遣使者前往祝賀。這種使節的日本之行，在當時稱為「上江戶」（江戶上り），日方並要求琉球在上江戶時所表演的節目要具有異國特色，而這樣的異國風情，便展現在琉球派遣團所表演的中國戲曲與音樂節目之上。從港岸到目的地行走時，所演奏的是「路次樂」（ろじがく，Rozigaku），即我們所熟知的傳統鼓吹樂隊，進入廳堂後所演奏的，則是「御座樂」（うざがく，Uzagaku），其內容包括戲曲與音樂兩部份。就知見文獻比對，包括〈問卜〉（或稱“古囉囉”）、〈昭君和番〉、〈打花鼓〉及若干像是【數落】、【雙疊翠】⋯等劇目或曲目，皆出現在琉球御座樂與臺灣北管所保存的抄本當中。其次，在「上江戶」所見的戲曲表演記錄中，發現〈問卜〉（或稱“古囉囉”）和〈昭君和番〉這兩者與北管戲曲有關。透過文字記載的比對，〈古囉囉〉或〈古囉〉，即是北管古路戲曲中常見的劇目〈韓信問卜〉，但目前只見到一個版本與北管的整齣內容接近，其餘版本從表演人員組成的記錄上，可發現它在琉球的表演中已經從原本的戲曲形式轉化為單純的一首清唱歌樂。相較於〈問卜〉產生的變化，〈昭君和番〉則比較保持原來戲曲的樣貌，不但在文字記錄上仍處於戲曲劇本的外形，在繪卷中所出現的表演形象，及記錄中所見的表演分工，都證明了〈昭君和番〉仍保有戲曲展演的屬性。除了這兩齣在劇本內容上與北管的版本接近外，在琉球所見其他傳自中國的戲曲劇本中，甚至出現【平板】、【流水】一類唱腔的書寫，也都得以證明彼此間在戲曲聲腔的源流上是有所關聯的。本研究主要利用文獻、曲譜、繪卷為基本材料，透過歌詞及口白等文字上的比對、相同曲牌名稱的考證、演出資訊與繪卷形象的參照，來證明御座樂與臺灣北管在音樂傳播上的關係。

The conferring of titles and the acceptance of tribute were systems once adopted by China to establish friendly relationships with neighboring countries. As a result, China's traditional theaters and music were introduced to the nearby islands and music styles were established. After the Satsuma Domain of Japan invaded the Ryukyu Islands, the Ryukyu Kingdom was requested to send delegations to Japan whenever a new emperor or shogun took power. Such missions were referred to as ＂Edo nobori＂（上江戶）. The delegation was required to offer some exotic performances, which were most frequently Chinese traditional music and operas. The delegation played Rozigaku（路次樂） on its way from the landing port until arriving at the location of the ceremony. It was a type of traditional Chinese marching music. Upon entering the hall of celebration the delegation would perform Uzagaku（御座樂）. According to ancient documents, many traditional Chinese operas and music were performed during the Uzagaku performances. In records related to the Edo nobori event, the titles of ＂Wenbu＂ （問卜） and ＂Zhaojunhefan＂ （昭君和番） were discovered; these two titles are related to Beiguan operas. So far only one version of ＂Wenbu＂ of the Uzagaku has been found to closely resemble a complete version of ＂Wenbu＂ in Beiguan. The other versions of ＂Wenbu＂ showed that the performances had evolved from the opera style into those in which only one singer appeared. Compared with the evolution of ＂Wenbu＂, the performance of ＂Zhaojunhefan＂ in the Edo nobori event was presented in its original opera style. This study examines historical documents, manuscripts, emaki paintings, lyrics, narrations, names of titles, performance documentations, and proves the close relationship between Uzagaku and Beiguan in Taiwan.